As a make-up artist you are now considered a service provider and everyone knows those who provide the best service tend to keep working. If you are having trouble jump starting your career, or have been out in the market for a while and things are not picking up, here are a few tips that might make a difference. Although I may make more references towards the film and television industry, these rules apply to everyone working, be it in commercials, music videos, theatre and print.

1 - Always arrive at least fifteen minutes before a call time. Punctuality tells a lot about a person. Starting out, you want to make a great first impression and this will be a big one. It tells your employer that you are passionate about your craft and care about the job you have been hired to do. The time is used to set up your work station, review the days work and ask any needed questions before any talent arrives. It also allows you time to focus, grab a coffee and maybe a quick bite. Nerves do funny things to the insides of ones stomach. It is a good idea to settle them with some food. You might not be able to smell your breath but the people in your chair will. After all, that is why they call it the most important meal of the day. If you need them, choose mints over gum.

2 - Wear work appropriate, clean clothing and sensible shoes. You want to be recognized for your work not the clothes or lack of clothes on your back. Revealing or profane attire is not the wisest of choices. Also, be aware that your fondness for tattoos and many piercings may not be appreciated by all so cover up or remove what you can. In film and television the shooting day runs roughly twelve hours not including pre-calls and the clean up at the end of the day. Most studios have cement floors that are stressful on your knees and lower back. A simple trick to save them is to bring a change of shoes and socks. At lunch switch to the new pairs and you will be amazed what some fresh padding and a chance for your feet to breathe will do. Also, if you are working on location, bring your own rain boots and slicker. If it is winter, have gloves and a coat that covers your behind, plus boots with rubber soles for standing in slush for countless hours. It is not the wardrobe department's job to dress you. Producers will want to know why you are wearing the talents gear and that is not a good thing.

3 - Speak when spoken too and the rest of the time observe and be quiet. Your function is to accommodate the talent as best as you can with the time and resources allotted to you. That means get them in and out of your chair as politely but quickly as you can. You find there are two types of people, those who like to talk and those who prefer quiet. For the talkers, be engaging but do not get involved with their personal drama or involve them in yours. A straight make-up on a woman should take forty-five minutes at most and for a male the process should be no more than twenty minutes. Remember, hair still needs to process them as well. You will be the first people to see the talent at the top of the day. They have to leave your chair happy even if they did not arrive that way. You set the mood for the whole work day for the rest of the crew. If it starts bad it will not take long to establish who the culprit was and you do not want it to be you. On set, the microphones the sound department uses are very sensitive. Keep comments to your self when the cameras are rolling.

4 - Touch ups do not mean make-over after every cut. Men usually do not like a lot of fusing over. So when you approach them there should be a good reason. Woman, it is all about lips and eyes. Have a mirror and a lash curler at the ready and most of the time that is all that is needed. Remember you are asking a total stranger to trust you to make them look good and to maintain that for however long the shoot is day in and day out. The only way you are going to earn that is to listen to their needs and stay on top of your job. Also, if you can do something on set like a black eye or a minor effect, do it there. Try and accommodate the production and not jamb them up by wasting time dragging talent back to the trucks or off location. Directors, producers and anyone of authority will notice and it will be remembered. That is how you get called back or referred for other jobs. So always be prepared for the unexpected. An FX Palette and some blood should always travel with you. Take pictures of your work and refer to them. It is not the script supervisor or continuity person's job to do this for you.

5 - Respect the chain of command. If you have a problem with an actor or crew member you discretely go to your Key or the head of the department. If you cannot, go to the production manager or line producer. The producer would be your final destination if all other do not work out. You can also go to the crew rep on most features a member of the crew is elected to be the voice and air beefs. If you need to speak to the director go to the 1st AD. He or she will determine if your request needs the director's attention. If you need to look through the camera lenses ask the camera operator or the director of photography. The same goes if you have an actor that is self conscious about some aspect of their face. Mention it to the director of photography and he or she will adjust the lighting to assist you or will try to favour the best side of the actor. It is in their best interest to keep the talent looking good and happy as well. Do not touch wardrobe or hair unless invited to do so. They are not your departments and if you change anything it could affect continuity. If you must adjust something take a picture and give them a copy. Never place your kit on the camera or sound cart. hey have very expensive gear and you will be told only once. Keep your kit with you and it can never get lost. If there is a problem in the schedule or with call times for actors talk to the 2nd AD they make up the schedule with the 1st AD. Make friends with the 3rd Ad or trailer tad. Always give them accurate time estimates and they will try and buy you time by running interference when set gets anxious to start shooting.

6 - Know you rights. You do make-up; you do not cut hair unless you have a license to do so. It puts you and the production in a position to be sued as well as gives the insurance company the excuse they need to cancel the policy on the production should anything go wrong. You do not put in contact lenses nor are they your responsibility. AN Ocular Technician has a certificate that makes them legally qualified. They have been trained to assist with the placing and removing of contact lenses as well as proper storage and care for them. You again could spread eye disease; scratch a cornea or even blind an actor. Not the way to end ones career because the production will be looking for a person to blame and if you are involved it will be you.

All in all, take care of yourself physically by taking vitamins, watching your diet and try and get some sort of exercise if possible. You do not get paid if you do not work and miss more than a few days and you will be replaced. Be aware of your kit and station by keeping both clean and tidy and dispensing make-up hygienically. Ask about allergies, be pleasant and stay on top of your job. Do not be the first to bolt for the door at the end of the work day, help where you can become part of the team. A little good will goes a long way. Do your job and do it well and you will keep working, do not and you already know the answer.